Acknowledgements

3My gratitude to my ‘‘picture-book team,’’ editor, Ruth Glushanok and designer, Kadi Karist Tint, who resisted my excessive selection of word and picture from the miles of film and tape I'd recorded, in compliance with the very essence of my mercurial subject: to do more with less, evermore with everless.

4 My gratitude to our brilliant editor at St. Martin’s, Michael Denneny, whose creative insight changed our direction from an informal overview to an autobiographical portrait, and to his assistant, Paul Dinas, who helped us make this difficult transition.

5 My gratitude to the cinematographers, who from 1951 to the present recorded Bucky and his work: Kent Wakeford, Kenneth Snelson, Bayliss Glascock, Gary Conklin, Martin Andrews III; to Einar Moos and John Ferry (of my staff at Masters & Masterworks Productions) for preparation of the stills from the film frames; to Medard Gabel, Timothy Wessels and Peter Kent (of Bucky's staff) for selection of stills and text from Bucky’s archives; to stills photographers: Hans Wild (cover photo), M.A.C. Miles (production stills at Bear Island); Wernher Krutein, Hugh Kenner, Claude Johnston (portraits); Alexandre Georges; Jay Maisel; Syeus Mottel; Don Richter; Sam Rosenberg; and John Warren (‘‘events photos’’—domes and such); other sources: A.P., the Bettman Archive, Cal Tech, Division of Records and Archives State of North Carolina, Hale Observatories, Kraushaar Gallery, Time Inc., DPI. And my sincere apologies to the sources we could not trace.